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PRUNELLA 



A DRAMATIC COMPOSITION 



BRENTANO'S 

NEW YORK MCMVI 



PRUNELLA 



lC-6: 



A DRAMATIC COMPOSITION 



BRENTANO'S 
NEW YORK MCMVI 






LIBRARY of CONGRESS 

Two Copies Received 

UEC 1 1906 

CLASS <C/;ae.,No. 
/copy b ./ 



/ 



Copyright, 1906, hy Brentano's 



THE mow PKESS, 



PRUNELLA 

ACT I 

Scene. — A garden enclosed by high hedges cut square. To the right a 
statue of Love, vnth viol and bow, stands over a fountain. To the 
left is a house with prim windows, the centre one projecting over a 
porch in which hangs a caged canary. The three gardeners are 
discovered at work trimming the hedges and nailing up creepers. 
Behind the further hedge the Boy's voice is heard. 

Boy. Oh, you naughty, naughty birds, now will act i 
you 

Come into my garden, and I'll kill you ! 
1st Gar. Well, what d'you say the weather 's going 

to be? . 

2nd Gar. Weather ain't up to much, it seems to me. 
3rd Gar. It 's up to mischief, though : 

Making things grow 

A deal too fast. 

These hedges — since we cut 'em last — 

Don't seem 

As if they know'd as a straight line could mean 

Anything ! No ; they 're all elbows and knees, 

Perking 'emselves about just as they please ! 

Oweasy things be trees ! 

A 1. 



PRUNELLA 

ACT I Boy. Oh, you naughty httle pests, now fly, please ! 
Don't come making nests in my trees! 
1st Gar. Well, what 's to be done now? 
2nd Gar. I thought as how — 

While we are on it, gettin' things to shape — 
'Tmight be a good plan just to give a scrape 
To this old fountain. 
3rd Gar. Ah! you thought that? Well 

Then don't you do it ! 
2nd Gar. Oh! why not? 

3rd Gar. I tell 

You — donH you do it ! 't 's not to be touched, so 
there ! 
2nd Gar. Well, it can rot then! 
3rd Gar. You haven't been here 

Long as I have ! if you had you 'd know. 
2nd Gar. Oh, indeed, oh? [Boy throws cap. 

Now then ! now then ! 
Boy. Please, Mister Gardener, I 

Was only throwing it at a butterfly ! 
3rd Gar. Then just you leave the butterflies 
alone : 
They mind their business — and you mind your 

own! 
It 's scaring birds is what you 've got to do. 
Boy. They 's scared enough now, mister, they seed 
you 
Come into the garden. 
2 



PRUNELLA 

3rd Gar. Eh? look 'ere, look 'ere ! act i 

You keep that sauce for your own chop! D' ye 

hear? 
Now come and pick this rag up ! Don't be slow ! 
What 's coming to the boy now I don't know. 
1st Gar. It 's just his youth. 

3rd Gar. His youth ! Hi ! Here a minute 

Closer . . . that pocket there . . . what you got 
in it? 
Boy. Got? What? 

3rd Gar. Why, this. This 'at ! 

1st Gar. Lord love yer! look at that. 

Boy. A' picked it up. 

3rd Gar. Picked it up, did you? Where? 

Boy. Please, Mr. Gardener, down — down at the fair. 
3rd Gar. Oh, so it 's the fair you 've been to, have 

you, then? 
Boy. Yes, please, Mr. Gardener, I — ^went — but I — 

I come back agen. 
3rd Gar. Who was it told you to go? 
Boy. Please, Mister, I — 

I went to see the mummers. 
1st Gar. Mummers? My! 

3rd Gar. And you been brought up so respectable, 

And b'longing here! What did you go for? 
Boy. WeU,— 

You see they was going away to-day, some one 
told me — 

3 



PRUNELLA 

ACT I And I just couldn't 'elp it! I just 'ad to see 

If they was like — like what I 'd thought they'd be. 
An' oh, they was, they was and more so! There 
Was a lot of 'orses and ponies, all polished — shinin' 

just like my 'air. 
Of a Sunday; an acrobat, pink-in-the-skin, an' 

clowns 
All tumbling about: and ladies, oh — ^what had 

gowns 
Too short for their legs ! and my word, didn't they 

kick! 
And there was a lot of fiddlers fiddling so quick 
You couldn't stop to breathe for listening; and 

fairies with wings 
And folk, what had sugar-plum things 
Stuck all over them ! Oh, and they played 
The fool to the life! 
1st Gar. Did they now — did they? 
3rd Gar. Well? 

Boy. Made you feel you wished you was silly your- 
self — like as you was ever so. 
3rd Gar. Well? 
Boy. Then — then I come away. 

3rd Gar. Then, now you 

[Points him hack to his work. 
Boy. Yes, Mister Gardener. 
3rd Gar. Head Gardener. 

Boy. 'Ead Gardener. 
4 



PRUNELLA 

1st Gar. Oh, I Ve seed life in my time too ! act i 

3rd Gar. Yes. An' you just encourage that 

boy. 
1st Gar. / do? 

3rd Gar. I'm feared at 'eart you 're unregenerate, 

Jeremy ! 
2nd Gar. Ah ! What was you up by the gate 

So long about this morning? 
1st Gar. I? 

2nd Gar. If not 

To see them mummers pass; more 'n one lot 

Went by wi' a band just about breakfast time. 
1st Gar. Ay, so they did. 
2nd Gar. And you there? 

1st Gar. Eh! Well, I'm 

Fond of a bit of music and a game. 
3rd Gar. What, at your age? Oh, Jeremy, think 
shame 

Of harbouring of such thoughts ! 
2nd Gar. [Sniffing.] Ah, ha! 

3rd Gar. Well? 

What are ye up to there, my Samuel? 

What 's come on you? 
2nd Gar. There 's summat I can smell 

The shape of here ! 
3rd Gar. What sort of shape '11 it be? 

2nd Gar. Our dinner ! Pigs'-pudding ! 
3rd Gar. Good! 

5 



PRUNELLA 

ACT I 1st Gae. Ay, though for me — 

I prefer chitterUngs. 
3rd Gar. Ah ! I don't know ! 

I dunno, chitterUngs in their place don't go 

So bad, but if you was to ask me straight 

What I'd have first, if it should be my fate 

To die to-morrow, why I think I 'd most 

Chose tripe and onions ! 
1st Gar. Peter, add a roast 

Potato, and I'm with you! 
Boy. Please, misters, say 

Ain't 'am and eggs your notion of heaven? 
3rd Gar. Eh? 

My notion is you 'd better get on away 

Back to your work — ^wasting your time all day 

Listening to what 's not meant for your ears ! 
2nd Gar. Well 

That talk 's made me feel sorry for myself — 

Hungry. How goes the time? 
3rd Gar. It ain't nigh twelve. 

Not yet. [Sighs. 

Enter Queer, carrying small table. 
2nd Gar. Oh, good-morning, ma'am, — miss, I should 

say. 
Queer. No, you shouldn't, you should wait till 

you 're spoken to. 
3rd Gar. Quite right, Mrs. Queer! Patcher, learn 

your place ! 
6 



PRUNELLA 

Queer. I didn't ask you to speak ! ; act i 

3rd Gar. You did not, Mrs. Queer, but the sweet- 
ness of your looks tempted me to hutter a 
hobservation. 
Queer. Ha! 

[Queer arranges things, and exit abruptly. 
2nd Gar. What 's put her out? 
3rd Gar. Thought of old times, maybe ! 

2nd Gar. Eh, but she needn't vent it off on me. 
1st Gar. Here ! did she have 

Her disappointments ever! I 

3rd Gar. I don't know. 

I don't know. 
2nd Gar. Ah, you ' ve your suspicion, though ! 

1st Gar. When did it happen? 
-^ Gar. If it did 'appen — and I don't say so — ' 
But yet I don't say no — 'twas at the time 
When that French gentleman gardener come 

along, — 
Him as put up that fountain. It was then 
As most things happened that ever happened 
here. 
1st Gar. Oh, ho, so that 's how it come? WTiat 

does it mean? 
2nd Gar. That stands for Cupid. Cupid's the 
French for love. 

Re-enter Queer. . ■ 

Queer. In a few minutes' time your mistresses 

7 



PRUNELLA 

ACT I Are coming to sit here : and they '11 expect 

Quiet and no disturbance while Miss Prunella 
Is doing her lessons. Mister Gardeners, 
You had better begin to work ! it 's getting late ! 

[Exit. 
3rd Gar. Ah, she don't like our looking at this here 
. . . No . . . 
Yes, as I say, 'twas that French artist chap — 
'Gardener architect' as he called hisself — 
Who put that up. Well, — it was never any 
Affair of mine. 
1st Gar. And what else did he do? 

3rd Gar. Well, — ^we don't make a boast of it, you 
see, — 
But it was 'e 
Run off with the youngest of 'em — Miss what 's- 

'er-name? 
— ^With Miss Prunella's mother, as she became. 
1st Gar. 0-oh! Was Miss Prunella his daughter, 

then? 
3rd Gar. I don't know. 
2nd Gar. What — didn't they marry when — 

When — er — 
3rd Gar. I dunno. 

1st Gar. Come, out with it, man. 

What do you know? 
3rd Gar. Well, twenty years ago, 

That Frenchman, 'e come here; and he began 
8 



PRUNELLA 

Chopping and changing, doing things on his own — act i 
Improving what he 'd better have left alone, 
If you ask me. 'Twas he put on the shelf 
That graven-image o' Cupid — carved it himself: 
And — Miss — Priscilla 

2nd Gar. Ah! 

3rd Gar. She used to come 

And watch him at it. 

1st Gar. Oh ! so that 'twas how ! 

3rd Gar. Ah! that was it. Then she grows pale 
and thin, 
And melancholy-like ; — you know the way 
That sort of thing takes people — ^walked about 
With a book in her hand, holding it upside down 
Pretending to be reading of it — ^watching him. 

2nd Gar. And he a-watching her? 

3rd Gar. Ay, ay! Before 

He made the sign, she was in love with him, 
And just as full of it as any goose 
Is with the stuffiing. 

1st Gar. Did nobody find out? 

3rd Gar. Ah, p'raps Miss Privacy knew — 
Or guessed: but she was soft — she didn't say 
Anything to the others. And then, one day. 
Just when the statue was finished — she and him — 
Miss Priscy and her Frenchman-architect — 
Took and run off together. No one knows 
What happened after that. 

9 



PRUNELLA 

ACT I 2nd Gar. Well, they must know 

Something: or where does Miss Prunella come in? 
3rd Gar. She come 

Just a year afterwards, as small and young 
As they make 'em — found Ijang at the door 
Tied up in black ribbon, with a letter written 
By Miss Priscilla just before she died, 
Saying the child was hers. But more than that 
I don't know, I don't know. 
2nd. Gar. Well, a poor business that was to be 
sure! 
And what for, eh? for love ! — Cupidity ! 
^Stupidity' I call it. I love my love 
With a D — I want my dinner! 
1st Gar. So that's where Miss Prunella gets her 
ways, 
Is it? Why, there ! I 've seen her hanging 

round 
That fountain by the /lour, all sad and pale 
And star-gazing at nothing: — just as you say 
Her mother used to do. 
3rd Gar. Oh, ay! she's hke 

Her mother: a deal too like her to please me. 
If we don't look out, she '11 go falling in love 
With the first pretty fellow she set eyes upon; 
And then the deuce to pay ! 
Boy. Please, Mister Gardener, I saw Miss Prunella 
looking at me yesterday, the saddest, sorrowfuUest 
10 



PRUNELLA 

look you ever saw. It made me blush all down act i 
into my clothes. Oh ! [Breaks off. 

Enter Prunella. She is studying a book and 
carrying a satchel of work on her arm. 
Occasionally she half closes the hook, and raises 
her head to mutter a piece off by heart; then 
halts and looks down again. Gardeners go 
round hedge. 

Oh, hark, naughty birds, what I '11 do t' you; 
Go out of my garden, or I '11 shoot you ! 
Prunella [Repeating each line twice over]. 

Not to allow my thoughts to stray — 
Not to allow my thoughts to stray 
Beyond the duties of each day — 
Beyond the duties of each day: 
Thus only can I hope to be — 
Thus only can I hope to be 
A tj^e of maiden modesty — 
A type of maiden modesty. 
Now I know that. 
3rd Gar. Hem! 

Prunella. What are you doing there? 
3rd Gar. Giving nature a lesson, miss. 
Prunella. What are you teaching her? 
3rd Gar. To keep straight ! I '11 let her know who's 

master while / 'm here. 
Prunella. And if you didn't, what would happen? 

11 



PRUNELLA 

ACT I 3rd Gar. Why, she 'd kick over the traces and be 
off her own way in no time. She 's bad enough 
as it is, always getting herself [clips] out of 
shape, and trying to be different to what you 
make her. [Clips.] Well, that you can't help, 
you Ve just got to come along and put it right. 
[Clips.] First she '11 run to leaf — ^that you can't 
help — then she '11 run to seed — that you can't 
help — then she goes stalky [clips] rots herself — 
dies and stinks. None of it you can't help. 

Prunella. What can you do, then? 

3rd Gar. Oh, you — ^you — can make things uncom- 
fortable for her; you can show her what she 
ought to be, and keep her in her place — ^make her 
toe the line. That 's what a garden 's for, that 's 
where gardening comes in. 

Prunella. Oh dear! here are my aunts already! 

3rd Gar. Yes, miss. 

Prunella. Lessons ! I 'm sure I 'm growing too 
old for lessons. 

3rd Gar. No, miss — no one grows too old for 
lessons. 

Enter Prim, Privacy, and Prude, followed hy 
Queer and Quaint. The Gardeners retire 
behind hedge, and commence to work. 

Prim. Prunella, it is lesson-time. Are all your 
lessons learned? 
12 



PRUNELLA 

Prunella. Yes, Aunt Prim. act i 

Privacy. Quaint, is the outer gate shut? 

Quaint. Yes, ma'am. 

[Prunella stands apart, conning her lesson. 

Prude. Indeed, I hope so; to-day it 's very neces- 
sary. You had better double lock it, and draw 
down all the blinds looking towards the road. 

Prunella. Why, Aunt Prude, people will think 
there's some one dead in the house. 

Prude. They had better do so. Prunella, if it will 
induce them to moderate their conduct while 
passing our premises. I have already beheld 
more than I care to recount to you. 

Privacy. I heard a disturbance outside. 

Prunella [Leaning forward with a little curiosity]. 
Oh, yes 

Prim. Prunella, deport yourself ! 

Privacy [To Quaint]. You had better bring me 
the key of the gate. 

Quaint. Yes, ma'am. 

Prim. [To Queer]. To-day we shall not be at 
home to any one. 

Prude. Who will call? No one can venture into 
the streets. 

Prunella. Why can't they, Aunt Prude? 

Prude. Nevermind, Prunella! 

Prim. Tell the gardeners to see that nobody in- 
trudes. [Exit Queer. 

13 



PRUNELLA 

ACT I Boy. Oh, you naughty, naughty birds, now will you 
Come into my garden, and I'll kill you. 

[Quaint returns with the key, and exit again. 
Prunella wanders toward the hedge. 
Prim. Prunella, get your needlework, 
And bring your little chair : 
Assume the task you wish to shirk, 
And come and sit down here ! 
Gardeners [Looking round hedge]. 

And go and sit down there ! 
Prude. But please to do it decently, 
No, do not cross your feet ; 
These habits have come recently. 
Correct them, I entreat ! 
Gardeners [As before]. 

Correct them, we entreat ! 
Privacy. Count ten before you say a thing. 
Think of each word you use. 
Be careful how you weigh a thing. 
And mind your P's and Q's. 

Gardeners. And mind your 

[Clock strikes 'Cuckoo' twelve times. The 
Gardeners stop speaking and begin to 
count on their fingers and feet. 
Boy [Behind hedge]. Oh, you naughty, naughty 
birds; now — oof! ... [A dinner-bell is heard. 
3rd Gar. Dinner! 
2nd Gar. Dinner! 
14 



PRUNELLA 

1st Gar. Dinner! act i 

2nd Gar. That boy gone — ^forward as usual ! 

[Exeunt 
Prude. Prunella, regulate yourself! 
Prim. It is time to begin lessons. Have you learned 

your verses? [Prunella hands the hook. 

You had better stand while you recite. 
Prunella. What is my task to-day? Behold 

The dawn arises decked in gold ; 

Bird, beast, and fish awake to run 

Their daily rounds beneath the sun. 

Shall I alone neglect to ask 

The frightful question, 'What's my 

Prim. Vital question. 

Prunella. Shall I alone neglect to ask 

The vital question, 'What 's my task?' 

Ah, no ! the Power which placed me here. 

Directs me still to persevere; 

To find, removed from dust and heat. 

Materials for a hfe complete, 

And to pursue with taste subdued 

The gentle paths of rectitude; 

To keep my temper well controlled, 

To be content — do as I 'm told. 

Not to allow 

Prude. Prunella, retreat the sash! 
Prim. 'Not to allow' — continue Prunella! 
Prunella. Not to allow . . . 

15 



PRUNELLA 

ACT I To keep my temper well controlled, 

To be content — do as I 'm told. 

Not to allow 

Oh, I We forgotten it all now! Retreating the 
sash put it all out of my head. 
Prim. You must learn it again. 
Privacy. Prunella, I have not known this happen 

before! You had better carry the books indoors. 

Bring The Gentle Reader with you when you 

return. 

[Exit Prunella. 
Prim. Do you think she has noticed anything? 
Privacy. Seen anything? Oh, I hope not. 
Prude. I think it possible. 

Privacy. I fancy the fair must be breaking up to- 
day. 
Prude. Three or four bodies of the rabble have 

already passed along the road. 
Prim. Our road? 
Prude. I heard — I almost saw them. I 'm sure it 

is a death trap to any young girl's modesty to 

look out of window while such characters are 

abroad. 
Prim. Hadn't we better all go indoors? We are 

too close to the road here. 
Prude. But we must be careful not to be abrupt or 

to seem purposeless. 
Privacy. Well, the weather is certainly sultry. 
16 



PRUNELLA 

Prude. If we made any sudden move, Prunella's act i 
curiosity might be aroused. 

Prim. I think it is aroused already. 

Prude. Well, she certainly showed a peculiar in- 
telligence about the blinds. She seemed to me 
to wish to have them up. 

[Prunella comes from the house. 

Privacy. Hush! here she comes. 

Prim. I observe a strange agitation in her manner. 

Prude. She's concealing something. 

[The Mummers' music in the distance. 

Prim. Privacy — there are the mummers again! 

Privacy. Dear me! But quite in the distance. 

Prim. But she '11 hear them — she must 

Prude. She 's taking notice — she 's taking notice 

Privacy. Oh, distract her attention ! 

Prim. How? 

Prude. Make conversation! 

Prim. Ah!^ — it 's the gardeners' dinner-hour 

Privacy. They will have finished soon. 

Prude. It looks as if there 'd be a shower 
This afternoon. 

Prim. I hope you put away your books? 

Prunella. Yes. 

Prim. Closed the drawer again? 

Prunella. Yes. 

Prim. Quite sure! 

Prunella. Yes. 

B 17 



PRUNELLA 

ACT I Prude. It really looks 

As if there would be rain. 
Prim. Prunella, do not cross your feet, 

Don't turn them so much out! 
Prude. Really, I do think from the heat 

Thunder must be about. 

[A slight pause. 
Prim. Ah ! They have passed by. 
Privacy. Dear child, she has noticed nothing. 
Prude. Innocence is a beautiful thing, Privacy. 

[Prim yawns. 
Prude. Really, Prim! 
Prim. I am sorry — I think it is more nervousness 

than fatigue. 
Prude. Reading, Prunella !: — Open your Gentle 

Reader. Turn to 'The Moon.' No — ^no. Prunella 

—do not waste your energy in turning pages. 

Discover the whereabouts of the passage by means 

of the Index — ^placed in the book for that purpose. 

[Privacy yawns. 
Prude. Oh, Privacy! 
Privacy. I beg your pardon. 
Prude [To Prunella]. Have you found 'The 

Moon'? 
Prunella. Yes, Aunt. 
Prude. Then begin. Read slowly and sit straight. 

[She starts to yawn, but checks it.] No — 'twas not 

yawning. 
18 



PRUNELLA 

Prunella. 'The Moon.' To-day, gentle reader, we act i 
will look at the moon, in order to consider its 
character, its condition, and its constituents, so far 
as they are known. The moon is much larger 
than the uninstructed would suppose; it is nearly 
a quarter of a million miles away from our globe, 
which will give you some idea of its size. Thus 
the fastest crow would take nearly four years to 
fly from here to the moon, without any pause for 
refreshment by the way, and the kingly eagle 
would not accomplish the task under three. Let 
facts hke these, gentle reader, stir your wonder at 
Creation's mighty plan, and stimulate modesty at 
your own exceeding insignificance. 

Prude. 'Modesty,' Prunella; you had better make a 
note. 

Prunella [Makes a note]. The moon has from 
time immemorial been the subject of foolish 
fables, all of which are untrue. The fact that the 
contours of its surface somewhat resemble the 
human countenance has given rise to an ignorant 
superstition that the moon contains a man. 
Grentle reader, there is no man in the moon, nor 
is it in the least probable that any form of life 
can exist there. It is true that the moon presents 
to our eyes only one-half of its surface, no one 
has even seen the further side of the moon. 

Prim. Prunella, why do you stop reading? 

19 



PRUNELLA 

ACT I Prunella. No one has ever seen the further side of 
the moon. It is probably just the same in all 
respects as the one we know. 

[The Aunts begin to nod. 
The moon completes the circuit of the earth once 
in every lunar month. If uninfluenced by superior 
gravity the moon, once started, would have gone 
on in a straight line for ever; any change that has 
come about is proportional to the earth's attrac- 
tion. [Distant music comes nearer; Prunella 
stops to listen and goes on again. The Aunts 
sleep.] The earth influences the moon, attracting 
it by its superior gravity. Once it formed a part 
of the earth, but breaking away, it chose a course 
of its own and lost all its heat and vitality. 
The moon may, therefore, fitly be held up as 
, an object-lesson to all young people. It once 
committed a rash act for which it is now paying 
the penalty. 

[Music again comes nearer; on the other side 
of the hedge are voices and laughter. Prun- 
ella stops to listen. Over the hedge a shower 
of confetti falls upon the sleeping Aunts. 
Prunella turns in timid alarm. Outside 
a toy bugle is blown on two notes rather 
like a cuckoo, and a drum is banged. 
Prude [Awakening]. What was that noise? 
Prunella. I don't know. [More noise without. 

20 



PRUNELLA 

Prim. Oh ! oh ! Those dreadful people ! act i 

Enter Queer and Quaint, running. 

Queer and Quaint. Oh! ma'am, ma'am, ma'am! 
The mummers are going by! They 've been 
throwing up at the windows and knocking at 
the gate, and there are lots more of them coming 
up the road. 
Privacy. Come, let us go in at once. 
Prim. We must retire. 

Prude. Queer, Quaint, bring in the chairs! 
Privacy. Pnmella, my dear, don't sit so! Get up! 
[Prunella gets up all in a dream; her lap is 
full of needlework, thimbles, scissors, etc., 
which fall upon the ground. 
Prim. Tut ! Tut ! what carelessness ! Gather them 
up quickly, and come ! 

[Another blast outside. 
Prude. Oh-h-h! [Runs.] [Exeunt the A.\miQ. 

[Queer and Quaint start carrying in chairs. 
Queer. What are you going to do? 
Quaint. I 'm going to pull down the top-floor 
blinds. I won't have people looking into my 
room. 
Queer \With understanding of what opportunity a 
top window affords]. Ah ! And I believe my win- 
dow is open. Ignorance ain't innocence ; it 's well 
to know these things — then you can avoid 'em. 

21 



PRUNELLA 

ACT I Privacy [Returning]. Prunella, I have dropped 
the gate key. Find it and bring it in. Then 
retire to your room and stay there till you are 
sent for. 

[Exit Privacy. Prunella prepares to 
follow, takes up the key, then after a 
momenfs hesitation gets on her stool and 
looks over the hedge. Through the bottom 
of the hedge creeps Pierrot. Half-way 
through he stops. 
Pierrot. Cuckoo! 

Prunella. Was it you made that noise just now? 
Pierrot [Nodding and smiling at her]. Nice noise, 
wasn't it? 

[Prunella shakes her head very seriously. 
,. He comes right through the hedge. 
Prunella [Scared]. Naughty white boy, you 

must go away! 
Pierrot. No, pretty Dutch doll, let me stay! 
Prunella. You mustn't call me names. 
Pierrot. You called me names. 
Prunella. I didn't. 

Pierrot. You did — a horrid, nasty name. 
Prunella. [Approaching him, half fascinated]. Tell 

me — ^what in the world are you? 
Pierrot [Going on his knees in a mock attitude of 
prayer and talking very fast, as if in a great hurry 
to tell his tale and get pardon for intruding]. Oh, 
22 



PRUNELLA 

I 'm nothing. I 'm nothing in the world but a act i 
poor Pierrot; I 'm an orphan, I haven't got a 
home, I haven't got a friend, I haven't got a leg 
to stand on, I haven't got a bed to sleep in, I 
haven't had a bit to eat, and I haven't had a drop 
to drink for three whole hours. [Changing his 
manner, seeing that he has made an impression on 
her.] There, now you know all about me, — as 
much as I know myself, almost. Oh, I 'm so giddy, 
I can't stand. If you don't look sweet at me, I 
shall be dead in a minute. 

Prunella. But how did you come here? Who are 
you? 

Pierrot. Dropped like a bird. I 'm the man in the 
moon. 

Prunella, Don't be silly. There 's no man in the 
moon. I 've been taught that. 

Pierrot. Ah! Don't you beUeve all the things 
you 're told. 

Prunella. But that 's in a book. 

Pierrot. Never read books. I never do. 

Prunella. Don't you learn things? 

Pierrot. I know all that 's worth knowing. And 
now I '11 tell you something. [Draws nearer and 
looks into her eyes while he points to himself.] The 
moon has a round face, two eyes, a nose and a 
mouth. That 's science. You thought I didn't 
exist. But — I've come true. That often happens. 

23 



PRUNELLA 

ACT I Prunella. But why did you come here at all? 

Pierrot. Looked at you through the hedge till my 

heart beat a hole in it! Now IVe lost it. 
Prunella. What? 
Pierrot. My heart. 
Prunella. How? 
Pierrot. Flown ! Up into that tree, just over your 

head. Can't you hear it crying 'Sweet, sweet, 

sweet!' — like a hungry bird, eh? Throw it a 

crumb! Throw it a crumb! There! did you 

hear that? 
Prunella [Shaking her head incredulously]. Why 

don't you call it back again? 
Pierrot. Ah! It won't come to my calling — ^not 

now! But if you were to call, if you were to 

say 'Sweetheart, sweetheart, come!' why, I 

shouldn't wonder 

Prunella. Oh, you oughtn't to be here, you must 

go away! [Starting hack and recollecting herself. 
Pierrot. Why must I? 
Prunella. Because nobody like you ever comes 

here. 
Pierrot. Would you like them to come? 
Prunella. Them! Is there any one else like you 

in the world? 
Pierrot. One or two. You don't believe it? I'm 

flattered. But truth before all things. I'll prove 

it. [Whistles.] Scaramel! Scaramel! But not 
24 



PRUNELLA 

quite like me — we are rather a mixed lot, we act i 
aren't all as white as we are painted. 

Enter Scaramel. 

Here is one, now! My man Scaramel. Do you 

not see the likeness? 
Scaramel. At your service, if it 's my master's. 
Prunella. What does he mean by that? 
Pierrot. That's his creed — it's what he lives by. 
Prunella. He's not like you at all. I don't like 

him. 
Pierrot. But that 's rather foolish. For if every 

one were just like me, you 'd see too much of me, 

then. 
Scaramel. Master, she 's very young. 
Pierrot. Well? 

Scaramel. Otherwise charming as usual. 
Prunella. Oh, please send him away! If you will 

send him away you may stay, just for a little. 
Pierrot. What 's that you have in your hand? 
Prunella. A key. 
Pierrot. It 's a very pretty key. May I look at it? 

Keys fascinate me. I like to guess what they open. 
Prunella. Oh, yes, [Hands him the key. 

Pierrot. Now this isn't a watch key. 
Scaramel. Nor a bed key. 
Pierrot. It 's not a small key. 
Scaramel. No; it 's a large key. 

25 



PRUNELLA 

ACT I Prunella. It 's the key of the garden gate. 

Pierrot. Is it really? Scaramel, this is the key of 
the garden gate. Well, a gate has its uses, eh, 
Scaramel? Ah! 

[Scaramel runs off with the key. 
Prunella. Thank you for sending him off. 
Pierrot. Don't mention it, pray. 
Prunella. But what have you done with the 

key? 
Pierrot. Didn't you see me put it down my back 

to prevent my nose bleeding ? 
Prunella. Was your nose bleeding? 
Pierrot. Child, child, I said to prevent it bleeding. 
Let us talk of something else. I don't like this 
place. It 's too straight. I don't like it. 
Prunella. It 's my home. 
Pierrot. Do you love it? 
Prunella. Why — yes. 

Pierrot. Why has your house shut its eyes? That 's 
wilfully foolish. Now I '11 tell you a story about 
a house I once knew — ^very hke this. 
Prunella. Really like this? 
Pierrot. Where somebody lived very like you. 
Prunella. Some one like mef 
Pierrot. Asleep, on the edge of a town 
Where the high road ran by, 
Stood a house with the bhnds all drawn down, 

As if waiting to die. 
26 



PRUNELLA 

And everything there was so straight act i 

With high walls all about ! 
And a notice was up at the gate, 

That told Love to keep out. 
But Love cannot read; he is blind, 

So he came there one day 
And knocked ; but the house was unkind, 

It turned him away ! 
But lo, when the gates were all closed, 

When the windows were fast. 
At night when the householders dozed. 
Love entered at last. 
Prunella. Oh, you recite quite nicely, better than 
I do. [Peals of laughter are heard outside and cries 
of 'Pierrot! Pierrot! Pierrot!' which 
come nearer. 
Pierrot. Thank you, but I have a deal of practice. 
Prunella. Oh, listen! What 's this coming nearer? 
Pierrot. Friends of mine. 
Here they come. 
Look at 'em. 
Rollicking rackety ! 

Enter Kennel, Callow, Mouth, Hawk. 
All Four. Here we come. 
Look at us. 
Rollicking rackety. 
Kennel. Kennel! 

27 



PRUNELLA 

ACT I Callow. Callow ! 
Mouth. Mouth! 
Hawk. Hawk! 

Enter Scaramel. 

Pierrot. Scaramel, good — you 're an excellent 

servant. 
Kennel, Callow. Tawdry and Doll. 

Enter Tawdry and Doll. 

Scaramel. Here they are, pretty dears. 
Tawdry and Doll. Here we are, pretty dears. 
Mouth and Hawk. Romp and Coquette ! 

Enter Romp and Coquette. 

Romp and Coquette. Last through the gate. 

Pierrot. Dance round me ! 

Mouth. Jump, little Tawdry. Jump so high. 

Doll. Here 's a fine garden. 

Hawk. Let 's pull it to pieces. 

Coquette [Seeing Prunella]. Oh ! 

Callow, Mouth, Doll. Oh! 

All. Oh! 

Prunella [Qme%]. Oh, you are funny ! 

Pierrot. These are my friends. Now attention: 

Callow ! 
Callow. Yes, I 'm very young. 
Pierrot. Doll! 

Doll. They say my heart 's of sawdust. 
28 



PRUNELLA 

Pierrot. Hawk! act i 

Hawk, I pounce ! 

Tawdry. Oh, not on me ! 

Pierrot. That 's Tawdry— Mouth! 

Mouth. Greedy 's my other name. 

Pierrot. Romp! 

Romp. I 'm the jolly girl. 

Pierrot. Kennel, and Coquette! 

Kennel. I make no pretence to being nice. 

Coquette. I 'm here to waste his time. 

Pierrot. Now, what 's your name? 

Prunella. Of course I 'm Prunella. 

Pierrot. Well, I 'm Pierrot. 

All. Now you know. 

Prunella. Pierrot 's a pretty name. [She grows 

suddenly frightened.] I think you 'd better go 

away. 
Pierrot. Oh, but that isn't polite of you. 
Prunella. I don't think my aimts would be pleased. 
Pierrot. That shows their bad taste. 
Prunella. Oh, please go! — make haste! 
Pierrot. No, we shan't. 

Prunella. Then I must. [Begins to run. 

Pierrot. Catch my butterfly, catch my butterfly ! 

[They circle round her. 
All. Butterfly! Butterfly! 
Hawk. No, you 're a chrysahs. 
Romp. Wait till the sun warms. 

29 



PRUNELLA 

ACT I Callow. Then you shall fly away. 
Tawdry. Fly with us — not from us. 
Prunella. Oh, please stop — ^you make me so giddy. 
Pierrot. Scaramel, bring her to me ! 
Prunella. Go right away! Oh! what do you want? 
Pierrot. What do I want? 
Scaramel. Master, what do you want? 
All. What do we want? 
Pierrot. Well, I 'm hungry. 
Prunella. Oh, are you? I 'm sorry. I ^11 fetch 

you some bread in a minute. 
All. Bread — dry bread? Oh, no. 
Prunella. And butter. / : ; 

Scaramel. Bread and butter, miss! 
Prunella. Well, cake. 

Pierrot. Neither bread, nor butter, nor cake. 
Prunella. Then you can't be really hungry. 
Pierrot. Call it thirst. My Hps are dry. Give me 

— give me a kiss. 
All. Give him, oh give him a kiss. 
Doll. Do give him a kiss. 
Scaramel. You 're to give him a kiss. 
Prunella. That won't cure hunger and thirst. 
Pierrot. It '11 cure my hunger and thirst. 
Prunella. A kiss? 
Pierrot. Just a kiss. 
Prunella. But that 's nothing. I kiss people often 

— regularly. 
30 



PRUNELLA 

All. Regularly — oh ! act i 

ScAKAMEL. Never do things regularly. 

Pierrot. To love — it 's everything. 

Prunella. To love? 

All. Love. 

Prunella. What is making you look so happy? 

Pierrot. Love. 

Prunella. Is it love that has made you so pale? 

Pierrot. Just love ! 

[The rest of the Mummers begin to adapt 
themselves to his mood and come, stepping 
solemnly, and listen. Sad music is heard. 
Prunella. Alas ! How sad a sight you are in truth ! 

Is love a thief that you have lost your youth? 

Why, you have turned quite white. 

Your very clothes would seem to share your grief ! 
Pierrot. Yes, they went white when I did. 
Prunella. When was that? 
Pierrot. Just now, when I first saw you from the 

other side of the hedge. 
Prunella. You went white then? 
Pierrot. As white as I could; I wasn't nearly so 

white till I saw you. At times I was so black I 

ought to have been called Nero instead of Pierrot. 

Ah! Now, don't be frightened — I wasn't quite 

black, just a httle bit off colour here and there, a 

sort of magpie. You Hke magpies, don't you? — 

women always do. 

31 



PRUNELLA 

ACT I Prunella [Innocently]. I never had a magpie. 

Pierrot. Ah ! I wish I had you in my nest ! Oh-h ! 
[He leans towards her. Prunella instinc- 
tively draws hack, and screens her face. 
Pierrot falls into Scaramel's arms. 
Prunella. What 's the matter. 
Coquette. He 's going to faint. 
Tawdry. He has fainted. 
Doll. I think he 's going to die. 
Romp. He 's dead. 
Prunella. No, he isn't. Don't say such cruel 

things ! 
Coquette. Well, it will be your doing. 
Prunella. No, no! 
Doll [Taking Prunella hy the arm and pointing]. 

Oh, poor Pierrot! Look at him, look! 
All [Gather round, crying]. Oh, you poor, poor, 
poor Pierrot. 

[Pierrot leans on Scaramel's arms with eyes 
shut, and sighs. 
Pierrot [Faintly]. Yes, I hear what you are say- 
ing. That 's me, that 's me. Will nobody find 
me a remedy? 
Prunella. Oh, do, do somebody find him a remedy! 
Coquette. /Somebody? 
All. Find him a remedy somebody. 
Somebody, somebody do ! 
From the way he 's been taken, 
32 



PRUNELLA 

Unless I 'm mistaken, act i 

That somebody ought to be you. [To Prunella. 

What is his malady? Nobody, 

Nobody, nobody knows, 

Unless by your pardon, [To Prunella. 

You live in a garden. 

With nothing that properly grows ! 

Find him a remedy somebody, etc. 

[They seize Prunella, and lead her up to him. 
Pierrot. Let her alone ! Let her go ! 
Force is no remedy. 

SCARAMEL. No. .i- 

Pierrot. So the story will never come true? 
Prunella. What do you want me to do? 
Pierrot. The man in the moon 

Came down too soon. 

And lost his heart to a maiden; 

With hunger and drouth. 

She burnt his mouth. 

And left him heavily laden. 
Doll. ^ 

Tawdry. Y Oh, cruel! 
Coquette. J 

Prunella. Do you mean me? 
Pierrot. Kiss me; then you will see. 
Prunella. But why do you wish for it so? 
Pierrot. Kiss me — ^then you will know. 

c 33 



PRUNELLA 

ACT I All. Kiss him — then you will know. 

[She kisses him. He meets the kiss passion- 
ately, holding her fast. She is overwhelmed, 
breaks from him, and runs into the house. 
Pierrot. And now — she knows. 

[A pause. Coquette steals up to Pierrot. 
Coquette. Was it nice? 
Pierrot. Get away! 
Romp. Oh Callow — wilt and die, and I '11 kiss you 

to life! 
Hawk. Oh, I 'm lost to this earth. Rescue me. 

Tawdry, with your cherry lips ! 
Pierrot. Scaramel, turn them away! 
ScARAMEL. Pack, baggages, pack! 
Kennel. On the road again — master of my master? 
Scaramel. Yes. No, wait without. 
Doll. Well, since we 've seen the show — : — 
Mouth. What a pretty piece of fooling ! 
Scaramel. Must I tell you twice? 
Tawdry. Save me. Hawk ! 

Hawk. By all means — my pigeon. [Carries her off. 
The Rest. Back we go — off we go, etc. 

[They run off. 
Scaramel. Master! We are alone. We three. 
Pierrot. We three? 
Scaramel. You and I and the Key. 
Pierrot. The key? 

Scaramel. It 's the key of the garden gate ! 
34 



PRUNELLA 

Pierrot. What might it unlock for her ! act i 

ScARAMEL. Well, master — let 's be getting on our way. 

Pierrot. Once more. 

ScARAMEL. I '11 drop it here. 

Pierrot. No, give it me. 

ScARAMEL. Magic attends on us. This house has 

been blind and deaf. The magic 's fading now. 
Pierrot [To himself]. To-night, to-night! 
ScARAMEL, Did you speak? 
Pierrot. I am tempted — Scaramel. 
ScARAMEL. Always yield to temptation. 

Pierrot. Then to-night [Boy heard. 

Boy. Oh, you naughty, naughty birds, now will you? 

Come into my garden, and I '11 kill you ! 

Oh, you naughty little pests, now fly, please ! 

Don't come making nests in my trees ! 

[Pierrot pockets the key, and exit through 
hedge, Scaramel following him. Curtain. 



35 



PRUNELLA 



ACT II 

The same scene, night time. The moon is rising away to the right of 
the stage. Its light crosses the top of the hedge, and strikes the 
head of the fountain-statue. The sound of keys and locking of 
gates is heard. Two gardeners enter with lanterns and keys. All 
lights are out in the house. 

ACT II 1st Gar. Ay, they are all a-bed. 

2nd Gar. I 'm about ready for mine. 

1st Gar. [Going off]. It 's going to be a clear 

night. 
2nd Gar. Ay, full moon. [Exeunt. 

Enter Pierrot and Scaramel. 
Pierrot. Scaramel. 
Scaramel. Master. 

Pierrot. Have you a ladder about you? 
Scaramel. No, master. 
Pierrot. That is very careless, to come out at night 

without a ladder. 
Scaramel. Master, doubtless one can be procured. 
Pierrot. One must be procured. 
Scaramel. I hope, master, you are not doing this 

deliberately. 
Pierrot. Give me my guitar. 
Scaramel. Your guitar? 
36 



PRUNELLA 

Pierrot. I bought it. Scaramel, I feel very happy act ii 

to-night. 
Scaramel. Anticipation is always delightful. 
Pierrot. And she shall be happy too. 
Scaramel. She shall fulfil her little destiny. 

Pierrot. I think she is different from any other 

Scaramel. You always think that, master. 
Pierrot. I am sure she is quite different from every 

other. 
Scaramel. Oh, master, promise me you will be 

selfish. 
Pierrot. Scaramel, have you ever known me forget 

myself? 
Scaramel. Master, you are almost all I could wish. 
Pierrot. Now for my serenade. Am I in voice 

to-night? 
Scaramel. The best that money could buy. 
Pierrot. Tenor or baritone? 
Scaramel. Both. 

Pierrot. To-night I will sing tenor. 
Scaramel. Three times for a tenor, twice for a 

baritone. [Scaramel claps three times. 

Enter Tenor. 

Pierrot. Is this it? 
Scaramel. This is it. 
Pierrot. Can it speak as well? 
Scaramel. I never inquired. 

37 



PRUNELLA 

ACT II Pierrot [To Tenor]. Please remember, sir, that 
I pride myself on my voice. 
Tenor. Your voice? 
Pierrot. Oh, you can speak? 
Tenor. Your voice? 

Pierrot. Well, I Ve paid for it. Now, Scaramel, 
leave me to sing. [Scaramel exit. 

Tenor [Sings]. Serenade. 

How now, everywhere up in air stars stare. 

On the roof shines the moon. 
Little bird in your nest, are you there? 

Up, son, to her chamber go. Say low down below 
Thy love begs a boon. 
Little bird in your nest, are you there? 
Pierrot. How strange my voice sounds to-night. 
Sleep, sleep, for Love's sake let her wake. 

Say, 'Take no rest!' 
Little bird in your nest, are you there? 

Tame heart, take heat, go beat in the small 
sweet breast. 
Little dove, bird of Love, are you there? 
Hour of night, at her bower go beat. Say 
' Sweet, now rise ! ' 
Time flies! Love, are you there? 
Undo and renew to the night the light of your 
bright blue eyes. 
For the man in the moon is here. 
Do you hear? He is here ! 
38 



PRUNELLA 

PiEEROT. Now stand back. Well? Well? Well??? act ii 
Hasn't she heard? Won't she answer? I sang 
that as finely as ever I sang it. Come here, 
Tenor. Ah, I understand. This means nothing 
to you — you don't care a jot. You sing what 
you 're paid to sing, not a note more. You pro- 
fessionals will be the ruin of art. Don't answer 
me, sir. Off with you. 

[Exit Tenor; exit Pierrot. 

Enter Scaramel, followed hy Mouth and Hawk 
bringing gardeners^ hoy captive. 

Scaramel. Bring him along, bring him along! 

Boy. Here, I say! You are pinching of me! 

Scaramel. Are you pinching him. Hawk? 

Hawk. No, but I will. 

Boy. I 'U yell. 

Scaramel. Don't let him yell. 

Mouth [Putting his hand over Boy's mouth]. Now 

then. 

[Hawk pinches him; an inarticulate sound. 
Boy. I did yell — ^inside myseK; oh, and it 

hurts ! 
Scaramel. That 's all right. 
Boy. Ho, law! Why, you be the mummers. I 

thought you was thieves. 
Scaramel. Impudent bumpkin! Pinch him again! 

39 



PRUNELLA 

ACT II Boy. Naow ! Steady on, steady on. Why, I was 

lookin' for you when you found me. Ha, ha ! 
All. Ba-a-a-a. 
Boy. I want to run away with you and be a 

mummer. 
All. Oh! 

Callow. That will be nice. 

Boy. I 'm glad you 're glad. What 's your name? 
Callow. Christopherothchildoluncivustomytempus- 

emulsio Smith. 
Boy. It 's a nice little name. I '11 get you to write 

it down. 
Mouth. What shall we do with him? 
ScARAMEL. What can you do, clodhopper? 
Kennel. Can you sing? Can you dance? 
ScARAMEL. Can you find us a ladder? 
Boy. What for? 

ScARAMEL. Don't ask silly questions. 
Hawk. Why, for fun. 
Boy. There 's one by the shed. 
ScARAMEL. Fetch it. 
Boy. To the right, round the corner. 
ScARAMEL. Quietly. 

[Callow and a Pierrot or two go off. 
ScARAMEL. And so, my innocent young friend, you 

want to see the world. 
Boy. Ah, what I say is, give me Life. 
ScARAMEL. Have you money? 
40 



PRUNELLA 

Boy. No; I '11 earn it by playing the fool. act ii 

ScARAMEL. Quite likely. 

Boy. Just as you do. 

ScARAMEL. Now you Can't come alone. 

Boy. Can't I? 

ScARAMEL. Not with us; you must bring a maid 

with you. 
Boy. Oh, I can wait on myself. 
ScARAMEL. Come, is there no pretty maid in the 

house — one that you 'd like to see Life with for a 

bit? 
Boy. Oh, now I take you. 
ScARAMEL. Whose window is that? 
Boy. Oh, that 's Aunt Prude's. I won't have her. 

She snores. Quiet now, and you '11 hear her. 
ScARAMEL. The next? 
Boy. That 's a passage. 
ScARAMEL. Well, the one beyond. 
Boy. Never you mind. I '11 have her if she '11 come. 

We must wait till to-morrow to ask. 
ScARAMEL. That 's Miss Prunella's? 
Boy. You are quick. 
ScARAMEL. Thank you, that 's what I wanted to 

know. 
Hawk. What now? 

ScARAMEL. Oh, tie him up somewhere safe and quiet. 
[ScARAMEL goes to fetch Pierrot. The 
ladder is brought on. 

41 



PRUNELLA 

ACT II Boy. Tie me up somewhere? 

Hawk. No nonsense ; you 're one of us now. Dare- 
devil 's your name. 

Boy. No, it isn't. 

Hawk. And now 's your time to carry her off. 

Boy. What! Wake her up at this time o' 
night? 

Mouth. There 's the ladder against her window. 

Kennel. Now serenade her. 

Boy. Sera 

Kennel. Sing to her. 

Boy. My! That 'd wake her. 

Callow. Then up you go. 

Mouth. And in at the window. 

Boy. Oh, I 'm feared she 'd think I was intruding. 

Hawk. Bah, you 're afraid. 

Boy. No, I ain't. But is it good manners? I 've 
been brought up well. 

Mouth. First you must sing. Here 's a guitar. 

Boy. What must I sing? 

Callow. That your heart is fluttering hke a little 
dicky-bird. 

Boy. I don't think I know that one. 

Mouth. What do you know? 

Boy. Well, will this do? 'Oh you naughty, 

naughty birds, now will you ' 

[Pierrot comes in, followed by Scaramel. 

Pierrot. What 's this? 
42 



PRUNELLA 

Boy. Now, you put me off. act ii 

ScARAMEL. Put him safe somewhere, didn't I tell 

you? 
Hawk. Come now, you shall finish it later. 
Boy. Come into my garden and I '11 — what are you 

doing? 
Kennel. Truss him tight. 
Boy. This ain't part of the game. 
Mouth. Yes, it is. 
Boy. This ain't seeing Life. 
Callow. Oh yes, it is. 
Boy. Now you let me go, or I '11 holler. 
Hawk. Oh no, you won't. [Gags him. 

ScARAMEL. Now hsten to me, my rustic friend. 

You 're a clod and must stay a clod. Don't be 

flying, or you '11 come to grief. Can you hear 

me? This is right. Think it over till morning 

under the hedge. Now roll him away. 

[They roll him up to the hedge. 
Hawk. Roly-poly gardeners' boy. 
Mouth. Safe like a hedgehog. 
Callow. Good-night. 
Mouth. Sleep well. 
ScARAMEL [To Pierrot]. Ycs, master, that 's her 

window. 
Pierrot. Ah, my bird. 

Be not too tame ! 
ScARAMEL. Master, we wait your word. 

43 



PRUNELLA 

ACT II Pierrot. Come, comrades, then, stand back into the 
shade ! 

Round us, night opens her sweet ears afraid. 

Dusk in her eyes. Now call! and like a snare 

Send invitation up through the soft air. 

To that well-feathered nest that lacks its pair! 
All [Serenade under window]. 

Sleeper, awake, arise, look out ! 
Hawk. The night owl calls and bats are about. 
All. And we call too. Come down, Pierrette! 
Romp. Here in our midst there 's sport and to 

spare. 
Coquette. Here with us there 's a heart to share. 
Tawdry. Lie-a-bed, lie-a-bed, why d' you stay there? 
All. What means waiting? Come down, Pierrette. 
Kennel. Here over morals the moon throws a 

shade. 
Mouth. Here with us there 's a game to be played. 
Hawk. Here where the merry-thought waits for 

the maid. 
All. Why are you waiting? Come down, Pierrette. 
Callow. Come and find comfort, come down, down, 

down! 
Doll. So we are to have another queen again? 

Will you serve her? 
Coquette. Perhaps — as she deserves. 
Tawdry. I '11 not. 
Romp. Ah, you 're jealous. 
44 



PRUNELLA 

Tawdry. I? What for! A mere penny-toy like act ii 

her? 
Pierrot. The curtain stirred. 
ScARAMEL. Back there into the shade. 

[They all shrink hack into the shade. Pierrot 
remains alone. Prunella opens her win- 
dow. 
Prunella. Who is there? Who are you? 
Pierrot. The man in the moon. 
Prunella. Oh ! Why have you come back? 
Pierrot. You called me ! I came soon. 
Prunella. I? 
Pierrot. You called me in a dream; and in a 

dream I came. 
Prunella. No — for I have not slept. 
Pierrot. You are asleep now. Will you not come 

down? 
Prunella. Asleep? 
Pierrot. Will you come down? 
Prunella. How can I come? 

Pierrot. See ! Out here waiting for you is a ladder 

of dreams. Come down, and the dream will come 

true ! [Pauses. She makes no sign. 

Shall I come up and be your dream? Speak, give 

me a sign! [She shakes her head. 

Then come down and be mine ! 

Prunella. Ah, but I dare not! Oh, what would 

they say if they knew? 

45 



PRUNELLA 

ACT II Pierrot. They would say nothing. They won't 
mind, they are asleep too. 
People when sleeping come out of their shells and 

find wings : 
Dreaming, they wake to a world full of beautiful 

things. 
They become wise, they open their eyes and can 

see; 
They become happy and young, they become 
free! 
Prunella. Pierrot, is it you, is it you that is saying 
all that; or is the world talking to me in its 
sleep? 
Pierrot. It is the world, Pierrette, and Love! 
Prunella. Just now I heard voices calling me from 

below, and now I seem to hear them again. 
Pierrot. Tell me what they say? 
Prunella. All the things I have ever said to my- 
self and wished to be true. The trees say, 
/Come and hide in us!' The grass says, 'Come 
and walk on me!' The dew-drops say, 'Come 
and dance with us!' And the air is like milk 
and honey to my lips as I lean out and breathe. 
Pierrot. And the moon says, 'I am full of love, 

and my beams bring happiness ! ' 
Prunella [Sighs]. Ah ! 

Pierrot. Pierrette, it is already time for us to say 
good-bye. 
46 



PRUNELLA 

Peunella. Where are you going now? act ii 

Pierrot. To my playground, the world. Where 

the gardens have no hedges and the roses no 

thorns, and where all birds fly free. Pierrette, 

Pierrette, come out of your cage! Come down! 

Prunella. I — I must! I must! For a moment 

— for a moment only! 
Pierrot. Life 's but a moment. 

[Pierrot makes a signal to Scaramel, who 

gives him Doll's cloak. He runs with it 

up the ladder and receives Prunella in his 

arms. 

Doll. Pff ! I 'm cold! It was I said I 'd be nice to 

her, and now they take my cloak. 
Callow [Embracing her]. Let me warm it again! 
Doll. I don't want you. 
Callow. None of me? Oh, feel my heart ! 
Romp. Oh, look, he 's bringing her down! 
All. Pierrette, Pierrette! 

[Pierrot and Prunella advance; he holds up 

his hand for silence. They all stop and 

become solemn. Prunella stands very 

still. 

Pierrot. Now you are come, tell me what 's in your 

mind. 
Prunella. The love I fear to lose, the love I find: 
Those who might miss me — those whom I might 
miss. 

47 



PRUNELLA 

ACT II Pierrot. Forget, let the rest go! Remember this! 

[Kisses her on the lips. 
Prunella. Ah! 

Pierrot. Flower of night, flower of night ! 
Come and stand within the light. 
And look into the heavens above, 
Where the moon hangs like a hive. 
And the stars are all alive; 
For the stars are the bees of love. 

Flower of night, flower of night ! 

My love and my delight ! 

Oh, come, and we '11 be there soon! 

Where the night waits warm, 

And the bees all in a swarm 

Are hanging honey up to the moon ! 

Flower of light, dear delight, 

Let our bed be there to-night ! 

Oh, come, and we will sleep there soon! 

And there we will dwell. 

Two hearts in one cell. 

And eat up all the honey in the moon. 

[While the song goes on the rest have crept 
away, finger on lip, leaving the lovers alone. 
They creep from behind the hedges and re- 
peat the last line. The buzz grows. They 
cry 'Queen-bee, Queen-bee.' 
Pierrot. Why do you stand so still? 
48 



PRUNELLA 

Prunella. It is too far act ii 

For me to go. 
Pierrot. Why, what a child you are ! 

Do far things frighten you? 
Prunella. Where should I be 

In the great empty world? 
Pierrot. You 'd be with me. 

Prunella. Always? 

Pierrot. Yes, practically always. Come! 

Prunella. No, loose my hands, let be. I must go 

home. 
Pierrot. Thy home is Love. Sweetheart, speak 
truth and tell : 
At this cold fountain learn Love's oracle! 

[He leads her to the fountain: all the Mummers 
wrap themselves in cloaks and follow in 
procession; they stand looking on, while 
Pierrot and Pierrette advance towards 
the statue. 

Pierrot. Here turned to stone 
The God of Flame 
Stands all alone. 
And mocks his name : 
Bereft of breath 
He stands and looks like death ! 

Mute on his viol 
Lies his bow; 
D 49 



PRUNELLA 

ACT II As on a dial 

Here shadows show, 
Oh, heavy crime! 
The waste, the waste of time ! 
Prunella [Kneeling]. 

Oh, stony youth. 
Mute Hps, bhnd eyes, 
Reveal the truth! 
Awake, arise! 
Tell me, oh, tell. 
If Love indeed be well ! 
[Pause. Love wakes. He draws his bow 
across his viol and speaks. 
Love. Yea, hearken to the lips of Love, 
Where he abideth all is well. 
His eyes do move the stars above. 
He holds the Heavens beneath his 

spell : 
And in thy heart thou hearst the chime 
Of Love whose feet shall outrun time. 
[At this last word all draw into a wide circle 
round the lovers, and move like the circling 
of the world. 
Prunella. I hear the sound, I must obey ! 

Ah, where am I since yesterday ! 
Pierrot. Years, and a hundred leagues away! 
Prunella. There I find thee, oh, swiftest foot on 
earth ! 
50 



PRUNELLA 

Pierrot. So runs my wish ! [Aside] which yester- act n 

day had birth. 
Prunella [Turning to look hack at her window]. 
Yet see, look there! How desolate it seems! 
Let me go back and gather up my dreams, 
Where I have slept so well ! 
Pierrot. You must forget 

Your former dreams, no, you are Pierrette. 
Prunella. Why force me thus to go? 
Pierrot. Nay, you are free. 
Prunella. Let me stay here ! 
Pierrot. Then do not come with me. [Pause. 

See yonder star, and yonder see ! 
And above, the milky way ! 
But yonder is the star for thee — 
Where we shall be ere dawn of day. 
Up hill, down dale, and far away. 
Prunella. One hangs on yonder cjrpress spray : 
Nay, look how pale and wan for proof 
He hangs imploring me to stay ! 
And one goes down behind the roof, 
Where shall I be ere dawn of day? 
Pierrot. Years, and a hundred leagues away. 

[A dance begins round the two lovers. At 
intervals Love strikes a note on his viol 
which gives the beat to the other music. 
The Columbines take off Prunella's cloak 
and reveal her as a Pierrette. They pelt 

51 



PRUNELLA 

ACT II her with white blossoms, till she seems a 

cloud of -[lowers. At the end of the dance, 
Pierrot advances and crowns her with a 
vjreoih of flowers. 

Pierrot. What you have dreamed to-night, do not 
forget. 

Prunella. Farewell, Prunella? I am — Pierrette! 
[Love strikes a note on his viol, she throws up 
her arms in a gesture of abandonment and 
longing, and flies into Pierrot's arms. 
He lifts her bodily and carries her away. 
There is a burst of laughter from the 
Mummers. They pelt the statue with 
flowers, and romp off. Enter the two 
gardeners with heavy staves and a lantern. 
The cuckoo clock in the house strikes three. 
They search round timorously and scratch 
their heads. One of them sees the open 
' window and ladder, and mounts to look into 

the empty chamber. The gardener's Boy 
rolls out from under the hedge, frightening 
the other gardener terribly. Love draws 
his bow and strikes a triumphant note. 
The gardener dashes towards him and 
strikes him with his staff. The bow falls 
broken from Love's hand. 



52 



PRUNELLA 



ACT III 

Three years have elapsed. Sunset. The garden is overgrown, weedy 

and neglected. The fountain is moss-grown and thick with creepers. 

The house-shutters are closed all but one or two; a notice 'To 

Let ' stands near. 
The Boy is discovered dragging gardening tools across the stage in 

a listless and desultory fashion, piling them by bench, or packing 

them into large open hamper or hand-barrow. 

Boy [Sings dolefully]. act hi 

My father said, my father said : 

What did my father say? 
'So long as you stands on yer 'ead 
You 're sure to find yer way!' 
'UUo ! there 's that bird again. Waits till he sees 
me pack my clappers and then he begins of 
'imself. Sh! Sh! You just get out till I'm 
gone! Take that, and say I told yer! 

[Throws stone. 
[Begins to carry away hamper, etc. 
Three years ago he told me so : 

But when my thoughts do run, 
Then all the work I 'ad to do 
I 'as to leave undone. 
Quaint [Entering from house]. Boy! here, boy! 

53 



PRUNELLA 

ACT III Boy. Boy yerself ! Who are you talking to? 

Quaint. ^\nby don't you come when you are called? 

Boy. If you requires to attrack my notice, you 
better say ^Mister Gardener'; else I mayn't 
'ear yer. 

Quaint. Pooh! 

Boy. When you come into my garden, you acts 
according. I don't come and poke my 'ead into 
the 'ouse and say, 'Gal! old gal!' do I? Gar- 
dener 's what I am now — same as I 'm always 
telling yer. 

Quaint. Fine gardener indeed ! 

Boy. 'Ead gardener. 

Quaint. Well, I doubt if the new owner '11 take you 
on, when he sees the state the garden is in now. 
Have you taken all the tools down to the 
cottages? 

Boy. If you 'd eyes in yer 'ead you see. 'T 's what 
I 'm doing now. 

Quaint. Mistress informed me to teU you that she 
wants all the flowers from Miss Prunella's garden 
taken. You 'd better come back for them after- 
wards : leave the spade ! 

Boy. Leave the garden! There 's missis's bell 
a-hollering for yer! You go, or you '11 catch it. 

Quaint. Pho! 

[Exit into house. 

Boy [Trails across to bench, leaves broom, and takes 
54 



PRUNELLA 

spade with him, crosses in front of statue]. What act hi 
are you looking at me for? — ain't said nothing to 
you. [Retires up with hammer. 

Enter Privacy followed hy Quaint: she descends 
slowly and enters the garden. Quaint locks 
the door and signals contemptuously to Boy 
to go. Privacy sighs, Quaint echoes her with 
exaggerated sentiment to convey sympathy and 
attract approval. 

[Exit Boy slowly, imitating Quaint' s sigh as 
he goes. 
Quaint. Hem! 
Privacy. Have you the keys? Is everything locked 

now? 
Quaint. Everything that would lock, ma'am ! Some 

of the keys won't work. 
Privacy. Oh, it doesn't matter. There 's nothing 

here that any one would want to take. 
Quaint. Are we to wait and give the keys to the 

gentleman? 
Privacy. Yes, he will be here presently. 
Quaint. Well, I do wonder, if he 's such a rich 

gentleman as they say he is, however he can care 

to come and live in such a place — as it is now. 
Privacy. He does not intend to live here. 
Quaint. Oh, if he only means to die here, the 

place '11 suit him well enough. [Softening.] I 

55 



PRUNELLA 

ACT III beg your pardon, ma'am, I didn't mean anything. 
It wasn't that I was thinking about — though 
what 's a black dress for if it isn't to make you 
hang your head Hke a tear-drop? No, ma'am, it 's 
only this lonesomeness gets so on one's nerves. I 
wonder you could bring yourself to stay as long 
as you have. 

Privacy. I had recollections to keep me here. 

Quaint. Ah, my poor mistresses! They wouldn't 
have wished to see you here — ^with the place like 
this — all so shamefaced as it looks now! 

Privacy. I had other reasons. Quaint. 

Quaint. I dare say you had, ma'am. Most people 
have reasons for doing foolish things. 

Privacy. I thought that some day Prunella might 
come back, and I could not bear the thought of 
her finding nobody here — or only strangers. 

Quaint. Oh, don't trouble yourself, ma'am! She 
won't come back. 

Privacy. Why do you say that? How do you 
know? 

Quaint. She has forgotten you. She doesn't care! 
— going off like that with a lot of giddy-gaddies. 

Privacy. Perhaps it was we who drove her away. 

Quaint. I don't think she took much driving. 

Privacy. We old maids forget what youth is like. 
Perhaps — ^without meaning to — ^we made life too 
hard for her. 
56 



PRUNELLA 

Quaint. Ah, well, she has got the making of that in act hi 

her own hands now, and they 're about full, I '11 

be bound. Ay, you can make yourself easy, she 

has forgotten all about us long ago! 
Privacy. But I have not forgotten her. 
Quaint. Psh! You were always softer than the 

others. I never heard them say a word. I 'd 

like to have seen her daring to put her nose in 

here while they were alive ! 
Privacy. Ssh! [A hell rings. Privacy looks 

agitated.] 
Quaint. Good lud! ma'am, why do you start like 

that? Now you 're all of a tremble. 

Privacy. I always think and hope 

Quaint. The gate always stands open, ma'am. 

She 'd never ring the bell. 
Privacy. No, she 'd never ring the bell. The gate 

stands open always, and at night a lamp has burnt. 
Quaint. Shall I go, ma'am? 
Privacy. Of course. This must be he. 

[Quaint goes. Music. 

How poor the place is; weeds are everywhere. 
Dead leaves beneath one's feet, rustling like 
memories. Poor, restless ghosts of unforgotten 
time. 

Enter Pierrot and Scaramel, shown in hy Quaint. 

Privacy. Sir, you are very punctual. 

57 



PRUNELLA 

ACT III Pierrot. Am I punctual, Scaramel? 

ScARAMEL. Master, we have accomplished twenty- 
one miles in fifty-five minutes. 

Pierrot. That seems slow. So this is the place I 
remember. 

Privacy. You have been here before? 

Pierrot. Once upon a time. A charming dull 
spot. But changed, but changed. 

Privacy. You don't find what you expected? 

Pierrot. Scaramel, did I expect anything? 

Scaramel. My master now makes it his rule never 
to expect anything. So he is never disappointed. 

Pierrot. You wonder, madam, what my interest in 
buying such a place can be. I once picked up 
here, by chance, a treasure, a trinket, which I 
have since lost. 

Privacy. Prunella? 

Pierrot. I beg your pardon. 

Privacy. Prunella, Prunella, Prunella! 

Pierrot. I had forgotten her name. 

Scaramel. We called her by some other. 

Privacy. It was you, it was you. 

Pierrot. Yes, it was I. 

Privacy. Where is she now? 

Pierrot. I often wonder. 

Privacy. Oh, we forgave her going, almost we 
would have forgiven you the theft. But you are 
heartless. 
58 



PRUNELLA 

Pierrot. That is true. How did you find it out?ACTiii 
No matter. Every one finds me out now. 

Privacy. But tell me all you know. 

Pierrot. Tell her, Scaramel. 

ScARAMEL. Madam, the story is not interesting 
unless my telling make it so, and there is much 
that you may not understand. I think we may 
claim that we educated her. Her education, 
madam, was very deficient; she had been much 
neglected. Life was a dead letter to her. We 
taught her everything. She learned to dance, to 
laugh, to sing, to love. For a time it seemed 
that there was nothing she could not learn. She 
loved my master very faithfully, and my master 
accepted the situation. He has a tender heart, he 
likes to see happy faces around him, and so he 
took a step which, not through his own fault, led 
to a little misunderstanding. 

Pierrot. Scaramel, I am disposed to tell this my- 
self. But stay near me. I may need prompting. 
What was that original remark I made about 
women the other day, Scaramel? 

Scaramel. Master, you said they puzzled you. 

Pierrot. Ah, it is still true. They are so illogical. 
Think, madam, she said she loved me and she left 
me — well, you shall hear. For two years — it was 
two years, was it not, Scaramel? — two happy 
years we had wandered together from place to 

59 



PRUNELLA 

ACT III place, seeing the world — foreign countries, and 
people, and gay towns. We danced, we laughed, 
we sang. We were married — she had wished it. 
[He shrugs.] People laughed when I told them 
that. 'Pierrot married!' they said, 'Oh, no! — 
unless he has married to a dozen.' But we were 
married — ^that was what made things difficult. 
I wasn't used to be married — it 's outside my 
habits altogether: it was strange, and everybody 
laughed so. And one day it seemed so foolish 
that I — ^went away and left her. 

Privacy. You said that she left you. 

Pierrot. Ah, not then, not then! That was later. 
I left her — saying nothing — it is so much easier 
to say nothing when you 've nothing to say. But 
before I went I had given her a lot of money, and 
a lot of pretty things, dresses, trinkets, bon-bons 
— everything I could think of to make her happy 
— except — ^my love. [He begins to he carried 
away hy his story, and to lose his pose of indiffer- 
ence.] I took that with me. And presently I 
found I couldn't get rid of it; and it grew heavier 
and heavier till my heart began to — what did my 
heart begin to do, Scaramel? 

ScARAMEL. Your heart became bad company. Master. 

Pierrot. Yes, it was quite distressing! I couldn't 
amuse myself. I couldn't dance, or laugh, or 
sing. It always came and caught me by the 
60 



PRUNELLA 

throat, and said, or seemed to say, 'You thief! act iii 
you fool!' I tried cures; but they were no good. 
And so, and so — at last I went back to see if the 
cure was there. 

Privacy. Yes? 

Pierrot. I had been gone a whole year; but I 
came back again. You see, now — ^it was not I 
who left her; she didn't wait for me long enough. 
There was the little house, just as I had left it. 
She hadn't taken a penny, she hadn't touched a 
thing. Even the last thing I gave her before I 
went I found lying covered over with dust inside 
the empty house which I opened with my own 
key. And in the garden was a small stone, and 
on it was written: 'Here lies — Pierrette.' 

Privacy. Who was 'Pierrette?' 

Pierrot. You may explain that, Scaramel. 

ScARAMEL. Pierrette was the name of my master's 
love for her. She probably goes by some other 
name now, if she is still alive. To us, of course, 
she chose to die. What may have happened 
since 

Privacy. You neither know nor care. 

Scaramel. It was an episode. 

Privacy. I thank you for the story, sir. 

Scaramel. Not at all. My master rather likes to 
relate it. I notice it grows late. We expect 
guests. They are almost due. 

61 



PRUNELLA 

ACT III Privacy. I will leave you in full possession. My 

maid will hand you the keys. 

[Quaint talks to Scaramel. 
Pierrot. Madam, this seems almost like turning 

you out. 
Privacy. My means no longer permit me to Hve 

where I would wish. 
Pierrot. That is a pity! not to be able to do as 

one wishes. And you have grown to be a part of 

the place. Its atmosphere clings round you. Do 

you mean to go — quite away? 
Privacy. To a cottage beyond the gates. I dare 

not go as far as I would wish. She might return. 
Pierrot. She— might — return. Scaramel! Have 

you any [Scaramel gives him his purse. 

I fear you are poor? 
Privacy. My poverty is not of your making, and 

my sorrow money will not buy from me. I will 

intrude no longer. [Exit Privacy. 

Pierrot. Really, Scaramel, have you no repartee? 
Scaramel. Master, I was not listening. 
Pierrot. Then that was as well. Give me the key 

of the house. 
Scaramel [To Quaint]. Give me the key of the 

house. 
Quaint. There are the keys. 
Scaramel. Which is it? 
Pierrot. Quickly, quickly. 
62 



PRUNELLA 

ScARAMEL. Is it a large key? act hi 

Quaint. No, it 's a small key. [He finds a key. 

That is the key of the garden gate. 
Pierrot and Scaramel. Eh? 

Quaint. That 's the house key. [Pierrot fakes it. 
Pierrot. It 's not a watch-key, nor a bed-key, not 

a watch-key, nor a bed-key. [Goes into house. 

Scaramel. Dear me, now. 
Quaint. Your master 's mad. I don't mind telling 

you. 
Scaramel. Original, my good woman. At the 

most, eccentric. It suits him. 
Quaint. And he 's a villain ! 
Scaramel. My good woman, if you were a little 

more up in the world 

Quaint. And if you were a little more up in the 

world — ^upon a ten-foot gallows, you and your 

master too, the world 'd be sweeter. He 's a 

rogue. 
Scaramel. If you were more in the ways of the 

world you 'd know that it 's usual for us to abuse 

our own masters, not each other's. 
Quaint. Well, my mistress is a fool, but he 's a 

scoundrel. What 's he come back here for? 
Scaramel. Would you understand if I said to lay 

a ghost? 
Quaint. No, I shouldn't. 
Scaramel. Then I won't tell you. 

63 



PRUNELLA 

ACT III Quaint. Ghost indeed ! He 's little better himself, 
a whited sepulchre 's what he is. Silkworms '11 
eat him! I can see his angling skeleton grinning 
out of him already. Yours too. Yours is a black 
one. Whalebone. 

ScARAMEL. My good woman, you have no dignity. 
Masters aren't worth quarrelling about. They 
mean wages, nothing more. There are good 
places and bad places. Now, I 'm busy. You 'd 
better go ! 

Quaint. Well, you '11 find your place some day. 
[Points down.] [Exit Quaint. 

ScARAMEL [Smiling]. Now that 's a woman's way 
of saying it, and neat too. Well, I must buck; 
there's a lot to be done! 

Enter Kennel. 

Callow [Outside]. Oh, you Httle moulting birds, 
now will you 
Come into my garden, and I '11 kill you ! 

Enter Callow. 

Kennel. What ho! Scaramel. Hark to this 

belated youth ! 
Scaramel. That 's just what he is, a belated youth. 

Where are the rest? 
Kennel. How should I know? Lost their way, 

most likely. 
64 



PRUNELLA 

ScARAMEL. Well, you 've found yours. You are in act hi 
luck. 

Re-enter Boy, with spade on shoulder. 

Boy. Why, it 's the mummers ! 

Callow. Who 's that? What has he got in his 
hand? 

Kennel. A spade ! 

Callow. Who are you? 

Boy. Me? I 'm as you tied up and put under the 
^edge that night. Saucy 'ounds you was, too! 

ScARAMEL. And what are you here for now? 

Boy. 'Ere for now? Why, I '11 tell yer — what I 'as 
to tell everybody — I 'm 'ead gardener here now; 
and I 'm diggin' 'oles to bury you in — 'ead down- 
wards — ^make yer 'air grow, same as mine — so you 
won't know yourselves. 

[Begins to depart with dignity. 

Callow and Kennel [Laughing foolishly]. Hee- 
hee ! Hee-hee ! Won't know yourselves, eh? 

[They stop abruptly. 

Boy [Returning]. Say, I 'm glad I didn't come 
with you when you arst me. Why, you are only 
a lot of scarecrows after all ! Good-night, bawly 
'eads; sleep well, and don't let the ghosts wake 
yer before it 's time. [Exit. 

Callow. Ghosts? I don't like that fellow. 

Kennel. No; and he doesn't like us. 

Callow. Once he wanted to come with us. 

E 65 



PRUNELLA 

ACT III Kennel. Times have changed. Come, scarecrow! 
Callow. What, you httle jays and jackdaws, will 
you 
Come into my garden, and I '11 kill you ! 

[Pierrot comes out of the house, and passes 
without observing them; they enter it. 
ScARAMEL. Have you any further orders, master? 
Pierrot [Abstractedly]. Oh, go to Scaramel, ask 
him. [Scaramel starts. 

Scaramel, who was that spoke to me just then? 

[He goes towards fountain. 
Scaramel. Master, the air of this place is not good 

for you. Would it not be better if 

Pierrot. If you changed it? Yes, change it, 
Scaramel, change it by all means, if you can. 
Clear it of its vapours, tell the sun to rise! And 
the birds to sing ! 

Enter Hawk and Mouth with Tawdry. 

Tawdry. Lud, it 's a weary way here. 

Mouth. I don't think much of the place, now we 've 

got there. 
Hawk. Why, then it 's as well I can't see it. 
Scaramel. Come, you '11 feel better by supper-time. 
Mouth. No, my appetite 's gone. 
Scaramel. But you 're still greedy. 
Mouth. I 'm losing my teeth. 
Tawdry. Times have changed. 
66 



PRUNELLA 

Hawk. Times have changed. act hi 

Mouth. Times have changed. 

[They go into the house. 
ScARAMEL. Master. 

Pierrot. Alone at the end of the day, 
As the sick world grins by 

Stands this house 

ScARAMEL. Master! 

Pierrot. Eh? 

ScARAMEL. The company arrives. 

Pierrot. My friends? 

ScARAMEL. Your guests. 

Pierrot. Not the same thing, is it, Scaramel? 

ScARAMEL. You wiU remember, sir, we are out of 

friends for the moment. [Doll runs on. 

Doll. Oh, I 'm lost, I 'm lost in this ugly garden. 

They 've left me all alone. 
Pierrot. Are you afraid? 
Doll. Yes, very. 

Pierrot. What sort of company d^ you want? 
Doll. I 'm not particular. 

Pierrot. No, truly; there 's the house, get inside, 
Doll. Won't you come? 

Pierrot. Not yet. [Doll goes in. 

Pierrot. Who 's that old woman? 
Scaramel. Master, that 's Doll with the painted smile 

and her little turned-in toes. You remember her? 
Pierrot. She has grown old. 

67 



PRUNELLA 

ACT III ScARAMEL. Then there 's Hawk, and Callow, and 
Kennel, and Mouth. 
Pierrot. Faithful followers of my purse. 
ScARAMEL. Master, they must live. 
Pierrot. They call it living. 
ScARAMEL. Then there 's Coquette. 
Pierrot. Ah, she 's been precious in her time. 
ScARAMEL. H'm! her modesty 's down at ankle 
now, like a split garter. Romp 's a little heavier 
on the bounce than she used to be. Tawdry 's 
much as usual, but dresses worse than ever, and 
costing more. The old faces, master, as you 
desired? 
Pierrot. Well, if they '11 help me to remember, or 

to forget. Either way, either way. 
ScARAMEL. H'm. [He goes to the house; laughter 

is heard. 
Pierrot [Sits listless by fountain, and gazes all 
round and up at house. Other -figures of arriving 
company cross the garden and enter]. How now — 
[Fingers his guitar doubtfully. 
How now, everywhere, up in the air, stars stare! 
Little bird in your nest, are you there? 

[Lets his guitar fall dejectedly. 
No answer! 

[After a pause he takes up his guitar again. 
Sleep, sleep, for God's sake let her wake! say, 
'Take no rest!' 
68 



PRUNELLA 

I forget, I forget the words that once came of actiii 
themselves. 

Re-enter Scaramel. 

[Angrily. '\ Scaramel, there 's no tune in these 

strings. They are rusty. 
Scaramel. Master, everything 's rusty here, it seems 

to me. Nothing goes right, everything wants oiling. 

I shall have more on my hands than I can do. 
Pierrot. Get the others to help you. 
Scaramel. They are no good. One can't rouse 

them. I think they want a new master. 
Pierrot. Oh, yes, find them one by all means. 

What 's the matter? 
Scaramel. Kennel 's guttering to his end. Callow's 

brain is softening — ^what 's left of it. Mouth has 

become a jibberer; you can hear him now! 

Hawk 's as blind as a bat. Not one of them 's 

what he used to be. We are growing old, master. 
Pierrot. Do you remember, Scaramel, that night? 
Scaramel. Master, I remember many nights. At 

what hour shall dancing begin? 
Pierrot. Ah, how tender she was! How fresh and 

young! 
Scaramel. Master, at what hour? 
Pierrot. Oh, when you like, when you like! She 

stood by me here at this fountain. Do you 

remember, Scaramel? 

69 



PRUNELLA 

ACT III ScARAMEL. I wiU remember anything you wish, 
master, as soon as we have made all the arrange- 
ments. 
Pierrot. Scaramel, I believe this stone remembers 
more than you. You are very selfish, Scaramel. 
Life to you is a meal; and there you sit at it, 
with a napkin tucked up from your waist to your 
chin, and you shut your eyes and open your 
mouth and eat. And when you get up from it, 
all your mind will be hke a bill of fare; just a Hst 
of the things you have eaten. 
Scaramel. Possibly, master. The wines to-night 

are 

Pierrot. Ah! [Turns away in disgust, and strikes 
his hand on the fountain. 
Oh, Love, your fountain has run dry. 
And have you lost your tongue? 

Speak, stone! 

You see, Scaramel, he won't answer me now. 
Scaramel. Love never answers, master, if you 

treat it too seriously. 
Pierrot. That night this stone thing seemed to 
have life and speech! The water sang to us, and 
music seemed to come, one knew not whence. 
Scaramel, have you noticed the statue's bow is 
broken? I wish it repaired. See to it. 
Scaramel. Instantly, master! 

[He lays a violin how in its hand. 
70 



PRUNELLA 

Pierrot. Here turned to stone act hi 

The God of Flame 
Stands all alone, 
And mocks his name. 
Bereft of breath 
He stands and looks like death. 

[A pause. 
That was not the music of it. 
ScARAMEL. Master, there will be musicians. 
Pierrot. But they 're mechanical. Hark to that 
bird, the last in this garden, I think. 
Sweet, sweet, sweet, throw it a crumb. 
Scaramel. Five courses for supper: Three wines? 
And the dancing. 

[He begins to count on his fingers. 
Pierrot. Ah, there again. Sweet, sweet, sweet! 
No, 'Bitter sweet, bitter sweet, bitter, bitter, 
bitter!' Yes, that fits best. So you Ve learned 
the word too, have you, little bird? Have you 
been round the world and loved more than you 
meant to, and come back again, and found your- 
self all alone? And forgetting — forgetting — ^no. 
Scaramel ! Scaramel ! [As he remembers. 

Alone, at the end of the day 

While the gay world ran by. 
Stood a house with a heart of decay. 

Almost ready to die. 

71 



PRUNELLA 

ACT III And everything there seemed to wait ; 

For the hedges were thin; 
And a notice was up at the gate, 
Begging Love to come in. 

But Love cannot read — ^he is bhnd, 

So he came there one day; 
And deeming the owner unkind, 

He went his own way. 

No, no ! For the doors were set wide, 

And the windows unfast. 
And at night, while the householder sighed. 
Love entered at last. 

[A gong is heard. 
Pierrot [Panic-stricken]. What 's that? 
ScARAMEL. Supper is served. 

Pierrot [Recovering himself]. That matters most. 
[Pierrot goes in, followed hy Scaramel. 
Daylight passes into dark. Intermezzo. 
Enter Prunella. She sinks down utterly worn out. 
Re-enter Scaramel. 
Scaramel. What are you doing here, beggar girl? 
Prunella. I 've come home. 
Scaramel. Some mistake, I think. 
Prunella. Scaramel. 
Scaramel. That 's my name, and no property of 

yours. 
Prunella. Don't you remember me? 
72 



PRUNELLA 

SCARAMEL. No. ACT III 

Enter Doll and Coquette. 
Doll. Scaramel! Scaramel! 
Coquette. Don't stay away. 
Doll. He 's so strange to-night. 
Coquette. You understand him. 

[Exit Scaramel. 
Prunella. Coquette, Doll. 
Coquette and Doll. Who 's this? 
Prunella. Don't you remember me? 
Coquette and Doll. No. 
Prunella. I was Prunella, I am Pierrette. 
Coquette and Doll. Say it again. 
Prunella. Oh! 

Enter Tawdry and Romp. 
Tawdry. Doll and Coquette ! 
Romp. You 're to come back. 
Coquette. No. Come and look here. 
Doll and Coquette. She was Prunella, she is 

Pierrette. We don't remember her, do we? 
Tawdry and Doll. No. 
Prunella. You loved me once, you said you loved 

me. 
Tawdry and Romp. Did we? 
Coquette. When was that? 
Romp. Was it yesterday? 
Doll. Or the day before? 

73 



PRUNELLA 

ACT III Coquette. I only just remember yesterday. 

Tawdry. I can't remember the day before, I never 

could. 
Doll. Nor I. 

Romp. And as for the last week 

Coquette. Or last month, or last year. 

Doll. Why, I always forget how old I am. 

Coquette and Doll. We 're very sorry. 

Romp and Tawdry. But it can't be helped, can it? 

Prunella. But what are you doing here? This is 

my home. 
Doll and Coquette. Is it? 
Tawdry and Romp. We don't know. 
Prunella. This was my home. 
Coquette. Perhaps it has forgotten you too. 
Doll. You 're very ragged. 
Prunella. I am poor. 
Tawdry. And pale. 
Prunella. I 'm weary. 
Romp. And downcast. 
Prunella. I 'm disappointed. 
All Four. No wonder that we can't remember you. 
Prunella. I have come so far, and now, no welcome. 
Romp. Are you hungry too? 
Prunella. I dare say. 
Romp. Well, if I were you I 'd get some food from 

somewhere. You '11 feel better then ! 

[Scaramel comes hack. 
74 



PRUNELLA 

ScARAMEL. Now, baggages, you 're called for. act hi 

Prunella. Scaramel, where 's your master? 

ScARAMEL. In the house. 

Prunella. I must see him. 

Scaramel. Oh, indeed! 

Prunella. Then where is my home? 

Coquette. She 's come a long way. 

Romp. She 's poor. 

Tawdry. She 's very tired. 

Doll. And disappointed. 

Prunella. Where are those I once lived with — 

those who loved me? 
Scaramel. Dead, I dare say. 
Prunella. Dead! 
Coquette. Now she '11 cry. 
Doll. Oh, how unpleasant. 
Tawdry. I can't bear seeing people cry . . . 
Romp. If she means to cry, she must be sent 

away. 
Scaramel. Baggages, get in ! 
Doll. I do detest these scenes. 
Tawdry. So inconsiderate. 

Coquette. People should keep their self-respect. 
Romp. I gave her very good advice. But then I 'm 

worldly wise. [They go into the house. 

Scaramel. Now, you 'd better be getting along, 

beggar girl. 
Prunella. Where? 

75 



PRUNELLA 

ACT III ScARAMEL. That 's your business, isn't it? Far be it 

from me to interfere. 
Prunella. I 'm weary. 
ScARAMEL. You cau sit down outside. 
Prunella. I 'm weary of life. 
ScARAMEL. Ah, that 's what all you useless people 

say. 
Prunella. Useless? 

ScARAMEL. My girl, no doubt you Ve been pretty in 
your time. 

Well, good looks as a livelihood don't last. 

Stir about, find some other occupation ; 

It 's useless maundering there about what 's gone. 
Prunella. Does nothing last? 
ScARAMEL. Nothing I know of. 
Prunella. Does love never last? 
Scaramel. Now don't you know it doesn't ? 
Prunella. Yes, I know. No, I deny that; for my 

love has lived, — ^will five for ever though I die. 
Scaramel. Yes, but what 's the use? 
Prunella. As I pray to die. 
Scaramel. Ah, dying isn't so easy either. 
Prunella. In the spring my life began. 
In the summer happiness. 
In the autumn let me die. 
Scaramel. Yes, it 's a depressing time of year, and 

such an untidy one. Consider this garden. Look 

here, young woman, here 's a way for you to be 
76 



PRUNELLA 

useful. If you want to earn tuppence — ^well, say act hi 
threepence — find a broom and sweep up here. 
It 's more than the market value of the work, but 
no matter. Only be gone by the time we Ve 
finished supper, for really you 're not fit to be 
seen. D' ye hear? Oh well, gratitude is out of 
fashion. If you want the money, go round for it 
to the back door. [Scaramel goes. 

Prunella [Stands dazed for a while and then 
speaks]. No one remembers me. [She looks 
round for a broom; finding it, she begins to sweep 
up the leaves. Then her eyes fall on the fountain. 
To the fountain.] 

Oh yes ! you — ^you — you must remember me, 
For it was you! it was you! 
Why did you speak? 
Had you no pity for a heart so weak 
As mine? Nay, Love, what made you do this 

wrong? 
You spoke, and all the world became a song, 
And all my heart a bird that heard its mate 
Calling and crying to it disconsolate. 
Bidding me come ! 
Say you remember me ! [Despairingly. 

Oh, why so dumb? 
Here for a heart forlorn and full of care, 
Have you no word — you that once spoke so 

fair; 

77 



PRUNELLA 

ACT III Easy was I to deceive, easy to teach; 

False as your silence now, was then your speech ! 
[A hurst of laughter, clapping of hands, and 
cries of 'Bravo' come from the house. 
She turns to the statue in a frenzy, and 
falls, heating her hands against the stone. 
Oh, stony youth ! 
Dumb lips, blind eyes. 
Tell me the truth. 
Awake, arise! 
Say, where does folly dwell, if Love be wise? 

[She falls half senseless at his feet. Love draws 
his how over his viol, and speaks. 
Love. Nay, all is well, is well with Love! 
Where Love doth dwell, there all is well. 
He hghteneth tie stars above, 
• He holds the heavens beneath his spell. ! 

Even in thy grief abides the sound 
Of Love that girds the whole world round. 
Prunella. Dark is that world henceforth about me ! 
Love. Couldst thou so will it, yet would thy heart 
forget 
Its love? [A pause: she sohs. 

Nay, nay, so long hast thou been wise — 
Forsake not wisdom now! 
Prunella. Oh, that mine eyes 

Could fail as dayhght fails, and all my breath 
Melt into air and leave me alone with death! 
78 



PRUNELLA 

Hast thou no well of waters here, where I act hi 

May drown my sorrow? 
Love. Nay, my bed is dry 

For lack of true love's tears. 
Prunella. Here at thy brink 
My long-stored griefs shall give thee tears to 
drink! 
Love. And having wept thy fill, what then were best 

To bring thee comfort? 
Prunella. I would be at rest 

Where under earth or sea it Hes most deep ! 
Love. Here lay thee down! Cover thyself and 
sleep ! 
I '11 be thy watcher. Here shalt thou forget 
Past griefs and present. Good-night, Pierrette ! 
[Pause: she goes to the fountain. 
Prunella. Good-night, Love, and good-night, 
sorrow! 

[She lies down and covers herself with leaves. 
Love. Good-night, Pierrette! Pierrette, good- 
morrow. 
[Sleep music. The light fades from Love's 
face. Mummers rush on, laughing. 
( Here we come. 
Several. \ Look at us. 

I Rowdy and Rackety. 
Kennel. Life 's none so bad after supper. 
Callow. Wine, wine is my only love. 

79 



PRUNELLA 

ACT III Doll. And me, and me, and me. 
Callow. You 're a good second. 
Hawk. I can see now; oh! most extraordinary 

things. 
Mouth. Here we come ! 
Tawdry. Look at us ! 
Romp. Rowdy and Rackety! 

Coquette. That 's right. Be merry. Sing louder. 
ScARAMEL. Sing louder. You 're paid for it, aren't 

you? 
Kennel. As my joints unstiffen so I kick, kick, 

kick. 
Mouth. Jump, little Tawdry, jump so high. 
Doll. What a wretched old garden ! 
Hawk. Who pulled it to pieces? [Pierrot enters. 
Pierrot. Ah, right, right, right! This is youth, 

this is youth ! 
ScARAMEL. Is this as you wish it? 
Pierrot. Is this as it was? 

ScARAMEL. Almost. 

Pierrot. Ah, true. She is not here. 

ScARAMEL. Won't ouo of these do? 

Pierrot. Which? 

ScARAMEL. Doll? Coquette? 

Pierrot. If she were dead, would not her ghost 

haunt this garden? 
ScARAMEL. Master? 
Doll. Oh, how unpleasant. 
80 



PRUNELLA 

Coquette. Don't frighten us. ACTiir 

Doll. Things were becoming so pleasant again. 
Pierrot. I wonder, could we raise it? 
ScARAMEL. Master, be warned. 
Mouth. Here we are. 
Tawdry. Look at us. 

Callow. Rowdy and 

Pierrot. Sh! With due preparation. That was 

her window. See, I remember. 
Romp. Oh, don't you do it. 

Hawk. What 's all this? I 'm going bhnd again. 
Mouth. No, the night has fallen. 
Pierrot. A ladder against the window just as once 

upon a time. 
ScARAMEL. Master, we don't believe in ghosts. 
Pierrot. Scaramel, I 'm getting tired of your 

behefs. Do as you 're told. Also there must be 

moonlight. 
Scaramel. There 's no moon to-night. 
Pierrot. Are you sure? Put out the torches. 
Doll. Oh, not the dark, please. 
Coquette. We 're very much afraid. 
Pierrot. No moon? are you sure? Memory and 

Magic surround us. [The torches are put out.] 

We awake. [Moonlight.] It seems long since 

I saw the moon. Now quietly, quietly about 

your business — go. 

[The Mummers go off. 
F 81 



PRUNELLA 

ACT III ScARAMEL. Master, let me tell you, this is very 
foolish. 
Pierrot. How good to be foolish again. 

[S CARAMEL goes after the others. Pierrot is 
left alone and despondent. 
Love. Oh, you naughty, naughty bird, now will you 

Come into my garden, and I '11 kill you ! 
Pierrot [Turns about, startled]. 
Who called? I thought that I heard some one 

cry 
'Pierrot! Pierrot, come out and die!' 
Is no one here at all? [He goes towards house. 
Love. No one. 
Pierrot. Who 's there? 

What is this echo answering me in air? 

[He turns. Love nods to him. Pierrot 
shrinks hack, shivering with fear. 
Love. So you have come back? 
Pierrot [Recovering his courage]. So you are 

awake again? 
Love. It wasn't you who woke me. 
Pierrot. Now, where is she? Say! 
Love. What, have you lost her? 
Pierrot. Well, I let her go. 
Love. Wasn't that careless? 
Pierrot. Careless, no ! 
Love. Cruel, then? 
Pierrot. Yes, to myself. 
82 



PRUNELLA 

Love. O, self, self, seK, still self! actiii 

Pierrot. That is my burden; take it from me! 
Love. Do you forget that I am stone? Call 

her. 
Pierrot. I have called secretly. 
Love. Not from your heart, only for vanity. 
Pierrot. All, all is vanity. 

Love. So you have found that out. Well, you 're 
still tolerably young. There 's hope in youth. 
Good-night, Pierrot. 
Pierrot. Where is she? Answer me, speak, speak, 

I say! 
Love. How can I, when I 'm stone, you fool! 
Pierrot. You fool ! [He sinks down in despair. 

[The Mummers return with the ladder. 
Hawk. Quietly, quietly. 

Here comes the ladder. 
Kennel. Rickety, rackety. 

Mildewed and cobwebby. 

Half the rungs broken. 
Mouth. Bats' bodies hung on it. 

Owls made a roost of it. 

Rats' teeth have gnawed it. 

There in a comer we found it forgotten. 
Callow. Quietly, quietly. 
Hawk. Up to the window there; 

Rear it and leave it. 
Romp. Who means to venture there? 

83 



PRUNELLA 

ACT III Coquette. Who will go up on it? 

Tawdry. Who will come down on it? 

Doll. Nobody — nobody. 

Pierrot. Nobody — nobody. 

Hawk. Who is to tap at the window now? 

Callow. I won't knock at an empty house. 

Romp. Ghosts might hear us and hang out their 

heads. 
Mouth. In long white night-caps wagging their 

skulls. 
Doll. Oh, don't! You frighten me! 
Pierrot. Hush! 

Kennel. Yes, I hear something. 
Pierrot. See! 

Hawk, Mouth, Doll, Romp. See, it opens. 
Coquette. Yes. 
Mouth. No one is there ! 
Kennel. But the window is opening. 
ScARAMEL. Master, master, it is only the wind. 
Pierrot. Well, it 's an ill wind that blows no man 

good. 
ScARAMEL. That old ladder won't bear you! 
Pierrot. Let it break! 
ScARAMEL. Master ! are you insured? 
Pierrot. — Go! to the Devil who sent you! Take 

your wage ! 

[Exit Scaramel. 
All. Sleeper, undo your door, look out ! 

84 



PRUNELLA 

Hawk, Doll. The night wind blows, there areACTiii 

ghosts about. 
Mouth, Tawdry. Ghosts underground and ghosts 

in air! 
Pierrot. Little bird, in our nest, are you there? 
Kennel, Coquette. Under the leaves small 

skeletons hang. 
Callow, Romp. Skeleton leaves where the birds 

once sang. 
All. Come down now, and be one of the gang! 
Pierrot. Love, Love, are you there, are you 

there? 
Hawk, Mouth. Ferret her out, however decayed. 
Old and decrepit 
Here once lived a maid. 
Callow, Kennel. Honey her heart was. 
Pierrot. Love, are you there? 
Kennel, Coquette. Walls are to climb and windows 

to break. 
Mouth, Tawdry. Sleep all day, but at night lie 
awake. 
Lest under the shadow thieves enter and take ! 
Pierrot. Sleep, sleep, for God's sake let her wake I 
Love, Love are you there? 

[Rushes up ladder. 
No one is there, I am alone. 
Pierrette ! Pierrette ! Pierrette ! 
Coquette. Come away! 

85 



PRUNELLA 

ACT III Tawdry. I daren't look. 
Doll. He frightens me. 

[Prunella rises from the fountain. 
Romp. Oh, look, look, look! 

Doll. Oh, let 's get away! : 

Coquette. It is her ghost ! 

Tawdry. Look, she is coming up out of the ground. 
Oh! 

r Oh yes, it is she ! It is she! 
Several, i Don't stay here any longer! 
I Let 's run, let 's run! 
[Exeunt all except Pierrot and Prunella. 
Prunella. Pierrot, come down! Pierrot, lift up 
your head. 
Come from your cage, come down! Pierrot! 

They said 
That you did not remember me at all! 
And yet out of my sleep I heard you call 
My name ! 

And when you called I — came 

[He descends, and stands gazing at her motionless. 
Pierrot [Whispers]. Pirrette! Pirrette! 
Prunella. It is I, Pierrot ! 

Pierrot. Living or dead, which art thou! 
Prunella. Wouldst thou know 

Draw near and see ! 
[A pause. Pierrot tries to advance, hut fails. 
Pierrot. Pierrette, my feet are slow 

86 



PRUNELLA 

For very shame — better on knees to go. act hi 

[He kneels. 
Now if thou hvest — for a sign stretch out 
Thy hand toward me ! Leave me not in doubt ! 

[She remains motionless. 
So, is it so? To meet when parted most ! 
Dead, thou art dead! And there now stands thy 

ghost. 
Alas, sweet ghost, what dost thou here with me, 
Robbing the dead of thy dear company? 
Go back where peace is; for no peace dwells here. 
Prunella. I stay with Love to look on thee, my 

dear. 
Pierrot. Can death such pity to the dead be- 
queathe? 
I have no right to breath, where thou dost breathe ; 
No cause to look on hfe except thou see 
The light of day which I destroyed for thee. 
Prunella. A little weeping, Pierrot, does not bhnd 

The eyes of love. 
Pierrot. Ah, me, too bitter kind, 

Too ghostly gentle in thy speech thou art ! 
Peace be to thy sweet soul. 
Prunella. Peace to thy heart ! 

Living or dead, I love thee. 
Pierrot. Say, then, why 

Gamest thou here? To tell me I must die? 
Is it to-night? [Eagerly. 

87 



PRUNELLA 

ACT III Prunella. To-night were choice made free, 

Wouldst thou give up thy Hfe to come to me? 
Pierrot. Yea, I will come. Yes, I will come ! 

[He rises to his feet. 
Prunella. Beware ! 

If you but touch me, all I am, you share 
For life, or death! So choose as you would be! 
Pierrot. I will do so. Be there no hfe for me. 
If that pure heart be withered of its sweets ! 
Thou smilest, am I dead? — It beats ! It beats ! 
Prunella. For thee, only for thee. Quick to thy 
nest, 
Thou weary wandering bird, and there take rest ! 
[Pierrot drops his head on her breast, 
and sohs. 
Nay, nay, lift up thy head, look not so ill ! 
Earth is sweet under us, the stars shine still. 
Look how they number them ! Look how they 
glow! 
Pierrot. It is for Pierrette — ^not for Pierrot! 

[Light begins to increase in the garden, and 
the singing of birds is heard. 
Prunella. Hush! hush! the birds are waking in 
the night; 
They sing of thee and me, and our delight ! 
Pierrot. Tis not the birds: it is the stars that sing; 
Nay, not the stars, nor any mortal thing. 
Either in earth beneath or heaven above; 

88 

LOFC. 



PRUNELLA 

The song thou hearest is the song of Love ! act hi 

Hark! Look! 

[They turn to the statue, which is again flooded 
with light. Love's head is raised, and he 
plays upon his viol, while all the garden 
grows loud with song. They kneel. 
Curtain. 



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